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Adriaen van OstadeSmoker Leaning on the Back of a Chair1672
1672
$750
£569.64
€655.19
CA$1,047.90
A$1,168.52
CHF 609.69
MX$14,338.23
NOK 7,760.33
SEK 7,352.74
DKK 4,889.96
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About the Item
Artist: Adriaen Van Ostade (Dutch, 1610-1685)
Title: Smoker Leaning on the Back of a Chair
Year: 1672
Medium: Etching
Paper: Laid paper
Image size: 4.1 x 3.55 inches
Signature: Signed in the plate as issue
Condition: Very good condition
Frame: Framed in a custom wooden black and gold frame with gold color bevel and fabric matting
Description: From the 6th or 6 states. Catalogue raisonne by Godefroy, plate #6.
- Creator:Adriaen van Ostade (1610 - 1685, Dutch)
- Creation Year:1672
- Dimensions:Height: 16.5 in (41.91 cm)Width: 15.5 in (39.37 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:Late 17th Century
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:Seller: 113341stDibs: LU66632283841
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'The Smoker (Le Fumeur)' is an original etching by the celebrated Dutch painter and printmaker Cornelis-Pietersz Bega. It presents a genre scene of the type Bega was best known for: Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, gamblers and fools such as quack doctors and alchemists. In this case, he shows a man seated on a chair with his foot on a flat stool and holding a smoking pipe. For Bega, this representation was more of a caricature than it was an image of a specific person, and such genre scenes would have held allegorical and symbolic meaning for the seventeenth-century viewer. During the seventeenth century, the Dutch of all levels of society consumed tobacco and alcohol, and these were an important part of the Dutch economy and a major source of wealth. At the same time, however, moralists and ministers sought to curb intoxication: they openly described drinking and smoking as sinful, immoral, and a general threat to one’s reputation. This paradox is reflected in prints such as this, which inherently carry the national pride of the Dutch economy alongside a moral warning in a print that could be just as easily consumed and collected.
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Cornelis Bega was born into prosperous circumstances. His mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz van Haarlem, a renowned Mannerist artist. Bega's father was Pieter Jansz Begijn (d 1648), a gold and silversmith.
Like other family members, Bega was probably Catholic. Houbraken's claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke; he was already a competent draughtsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652; Frankfurt am Main, Städel. Kstinst.), and by a remarkable double portrait (Amsterdam, Rijksmuseum) drawn by him and Leendert van der Cooghen in 1654.
Bega painted, drew, etched and made counterproofs in a wide variety of materials on different types of small-scale supports. He may have been the first Dutch artist to make monotypes, but this remains controversial. Approximately 160 paintings, 80 drawings and six monotypes by Bega have been catalogued, as well as around 34 etchings.
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